Ars: Jurnal Seni Rupa dan Desain
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JEJAK – JEJAK RUMAH JAWA DALAM TRADISI INDONESIA LAMA
No full textOne of the result of culture which representing Indonesian resident creativity is architecture, in this case is Javanese house. [The] mentioned proved with many archaeological fact. Division of time dimension based to the Hindu Budha period and Islamic period. The data got from pictorial data, verbal data, and architectural data. Classic Javanese house, having marking: Building construction from wood representing pillar stand up above of land, having gallery of mine and without space winnow. Old Majapahit house, having marking : building construction from wood standing above batur and still there is no permanent constrictor. its Roof covered by tiles. Final Majapahit house, having characteristic : it is equal to Old Majapahit house but have had permanent constrictor. The Javanese house have building system called rumah kolong or rumah panggung. The Javanese house at Islamic period that is Yogyakarta Kingdom have started to recognize west technology that is with use of its material even conception Hindu still very obvious. Besides esthetics element start to be applied that is with use of the ornament. Besides knowledge about developing house start to be booked written of manuscript about technique making of Javanese house called kawruh kalang.Keywords: Javanese house, history, Javanese temples, pictorial data, verbal data, architectural dat
KERAMIK GANESHA F. WIDAYANTO DALAM PERSPEKTIF STRUKTURALISME LEVI-STRAUSS’
No full textCeramics o f Ganesha by F. Widayaitto represent the expressive works o f art, which different fromthe sculptures o f Ganesha as the deity in Hindu mythology during Hie time we recognized. Pursuant tocharacteristic exist in both, and so its can be detailed and then be compared to and analyzed. One o f thecorrect perspectives to analyze these kinds o f expressive arts is the Structuralism perspective i f Levi-Strauss. I low this paradigm can decompose and give the solutions to the problems o f expression arl will beformulated later in this article.Key words: Ceramics, Ganesha, The expressive works o f art, Hindu mythology, The Structuralismperspective o f Levi-Strauss
Human Capital Disain Interior ISI Yogyakarta Dalam Persaingan Di Era Digital
No full textInterior Design Study Program’s Human Capital in the Competition of Digital Era. The growth of information technology that then followed by the globalization forces the higher education institutions to revitalize their selves and to reconsider their business and working concept. The most urgent thing to be done in identifying the nation competences and then translating and ultimately selling those competences in global market is producing exceptional human capital. Higher education institution is responsible to run that function. Human capital development program undertaken by the Interior Design Study Program of ISI Yogyakarta is based on the market need of professional interior designers. Some efforts have been carried out in the program i.e. formulating the vision and mission to be accomplished, identifying the existing problems, and setting a curriculum that fits the market need.Keywords: human capital, interior design, interior designer, interior decorator, curriculu
KONSUMSI DAN PRAKTIK MODERNITAS DALAM IKLAN ENAMEL ZAMAN KOLONIAL DI HINDIA
No full textindonesia in netherlands colonization era experienced a western modern industrialization which was signified by liberal economic system application. This economic system led to the production of new regulation and mass communication media, including commercial advertisements. Advertisements which were actually persuasive messages of the offered product and service conveyed to the target audiences played a role in constructing a dynamic consumption culture and supporting the existing modern industries. One type of it was the enamel advertisement. It was made of a 2-3 millimeterthick iron plaque with an eye- catching visualization so that it attracted a lot of attention from the people.This kind of advertisement became a crucial part to translate the consumers’ taste which was built in the consumptive culture dynamics. Its verbal and visual signs revealed the employed social- economic system of the target audiences. Keywords: artefact of modern industr
PERAN SENI KRIYA DI ERA PERDAGANGAN GLOBAL
No full textIn contrast to the kriyawan that able to develop aspects of research and development, innovation capability is actually a manifestation of the economics of proximity, but the producers are faced with the internal weakness of the pattern of financing and Research & Development activities and vulnerabilities to access sources of information. As a result, the role kriyawan become very important in order to encourage innovation capabilities. Proximity craftsmen with external forces such as consumers, distributors, suppliers, and competitors are considered important as a source of useful knowledge in the development of innovation capabilities for the kriyawan. Given the almost certainly composed of international trade in the export trade activities set forth many products related to art craft products. The nature of the mass and economies become one of skill in the art strength exploring the times. Indonesia has a good chance giving the art to craft to surface with high strength locality. Because of the economic nature of art is playing activity continues to craft art craft though. For that work patterns between pekriya and craftsmen sought in the form of mutual cooperation. A kriyawan work to gave birth to a product work can communicate inner experiences were also able to inspire a work product that penetrated into the sphere of mass products as art handicraft items. Of course collaboration among related subjects and aspects of the Art business cannot require each other synergistically. Selfishness in the rights and obligations differentiate cannot be synergized carefully. A product that created by kriyawan expected not to stand alone but can be used by craftsmen in a way giving royalties.Keywords: Art craft, globalizatio
Mengubah "Kebetulan” men jadi " Kebenaran” Yang Unik-unik dalam Aktivitas dan Proses Kreasi Seni Rupa
No full textDalam bahasa Indonesia arti kata “betul" sama dengan “benar”. Tetapi ketikamasing-masing diberi awalan dan akhiran ke an, artinya menjadi berbeda, yaitu“kebetulan” dan “kebenaran". Kebetulan, berarti suatu keadaan yang terjadi karenatidak diduga atau tidak disengaja, mendadak, spontan atau untung-untungan. Adapunkebenaran lebih kurang berarti sesuatu yang bernilai atau berharga jika dipandang baikdari akal, budi dan nurani.Dalam proses kreasi seni banyak peristiwa yang unik, aneh atau tak terduga.Peristiwa unik itu bisa saja dalam proses penemuan ide-ide baru, medium, atau teknik.Sehingga dari sana tidak mustahil dilahirkan bentuk-bentuk tertentu yang menandaihadirnya sebuah aliran seni atau gaya seni yang beraneka macam.Hal-hal yang dianggap kebetulan di dalam aktivitas dan proses kreasi seni tidakjarang oleh seniman disadari sebagai suatu berkah atau anugerah, karena kemudian iamengubah “kebetulan” itu menjadi suatu “kebenaran”, bahkan mungkin menjadiprinsip dalam berkeseniannya
RELATIONAL AESTHETIC DALAM DUNIA SENI KONTEMPORER
No full textRelational aesthetic identified by a Tranch theorist and cumtor, Nicolas Bourriaud, has been anemerging art movement that consistent in fudging artworks on the basis o f the inter human relationso f which they represent or produce. Instead o f the artists' capability, the Relational aesthetic places theaudiences or viewers to be the key factor fo r the success o f an exhibition or performance. The number o fcontemporary artists who exercise performative and interactive techniques- which rely on others, evensometimes strangers- is growing. Without any participation from the others, there will be no art -worksprotluced.A critical thought from an art history professor, Claire Bishop, makes the development o f therelational aesthetic in the art worid even more dynamic, both socially and artistically. She studied what typeo f relation being engaged, fo r whom and fo r what reasons.Keywords: relation, audience, participatio
WAYANG PANAKAWAN
No full textPanakawan is a group character in a wayang ( Javanese traditional puppet show) show. Each panakawan is unique and capable of explaining various roles. The group can be met in various types of wayang in Indonesia. The panakawan special characteristic is that unlike other wayang characters, they have the by design ugly, invalid and unroportional appearances. Since when these characters existed in the Indonesian wayang is unknown. It is necessary to investigate the historical aspect of Panakawan. There are two tracks can be followed in scrutinizing the characters, namely the verbal aspect and the pictorial aspect. In verbal aspect, the data was obtained from notes, writings, literary works, etc in the form of publications or manuscripts. In pictorial aspect, the data is gathered from pictures, things, artifacts, etc.Keywords: panakawan, historical, archelogica
SPIRIT ANGKA PADA BRANDNAME
No full textWhen numbers are applied as a merchandise brand, it is unique. There are many symbolic meaningscontained within. For several people, especially those who are involved in business, such an issue -"petungan" ("calculation" in the Javanese language) including feitg shui - is familiar. In this case, thenumbers mostly function to generate the spirit o f success.Keywords: number, brand, mystery, myth and spiri
Komunikasi Antar Budaya Motif Batik Cina
No full textCross-cultural Communication in Batik Cina Motif. Batik Cina is a motif that is created by the Chinese people or their descents living at the northern coastal area of Java. This motif plays a quite important role in batik development in Java. It contains cross-cultural communication patterns that are beneficial to reduce social tension. A dialogue by means of the exchange of cultural icons brings about a new style of batik motif called batik Cina. The motif is a combination of the China, Java, and Europe motif elements. It is a case of a mutual strengthening.Keywords: communication cross cultural, Batik Cina Moti